Matthew Kupakwashe Murrell’s Residency: Week 1 Report

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Greetings and Blessings in the name of the most high, no matter how you see or revere him or her, my name is Matthew De Vere Andre Murrell, also known as Kupakwashe, but you can call me Kupa for short. I am young playwright, director, actor and the founder and Creative Director of Yardie Boy Theatre.

For my first entry, I would like to show respect of two men today as I write this blog (May 11th). R.I.P to the honorable Robert Nesta Marley, who passed on this day in 1981. I read a few days ago that the kind of music a child grows up listening to, determines his taste, my mother against her father’s wishes was an avid reggae music fan, and so am I. Listening to Bob’s words and music has influenced me in my art and ideologies. R.I.P. to the Father of Reggae and a powerful Caribbean cultural icon. R.I.P. to I’Akobi Tacuma Hembadoon Maloney, a young prodigy of the Rastafarian faith whose life was cut short and whose spirit cries out for justice. I have never met you, but I feel as if I’ve known you all my life. RASTAFARI LIVE!

Just my first week in Fresh Milk was a humbling experience. Living on the south coast of Hastings, trying to write without hearing ZRs, a stray gunshot, loud music and whatever noises that fumigate the air makes it a task to concentrate. But being in the clean air of St. George, seeing the abundance of foliage, hearing birds, cows and the lyrics of Bob in my ear was the prescription I needed.

My first day, I had no idea how to start, many ideas came into my head about this play. I just didn’t know how and where to start. I wanted to write a piece, yes about I’Akobi, his life to his unfortunate crossing, but I want a deeper message. My message to people is that this situation is NOT just a Rasta ting! It is human ting! We have seen how the system claimed many of our people, from Emmitt Till, Trayvon Martin, Walter Rodney, I’Akobi Maloney and many more. So hence my stance ‘I AM I’AKOBI’. After posting the above picture on Facebook, I received so many great responses. Herbal Specialist Everton ‘Heru’ Holligan, did two videos of his kids with the same stance, Margurita Maloney, mother of I’Akobi Maloney said “GIVE THANKS for ALL of your support my SUN Matthew Kupakwashe Murrell, ‘BY ANY MEANS NECESSARY’!!! May WE ‘eventually’ get the legislative reform WE seek”  and “You know, there are times when I ‘feel sooo alone’ and THEN……THIS…GIVE THANKS for ALL of my comrades who ‘CARE’!!!”. The picture garnered over 12 shares from Barbados and across the region to the USA.

So far my research comes the literature of Marcus Garvey, ‘The Philosophies and Opinions of Marcus Garvey’, ‘How Europe Underdeveloped Africa’ by Walter Rodney, ‘Rastarian Theology: From Garvey to Marley’ and the DVD ‘The I’Akobi Maloney Conspiracies: A Mother’s Perspective’. I’ve already meet Maggie, I’Akobi’s mum, and I plan to meet her again, along with Mandela, his younger brother. My great friend and “twin sister” Ayesha NuRa, already has her foot on board to help me with anything I need in my research and development in this piece. Ayesha knew I’Akobi personally and they were the best of friends.

So far in the script, the piece has taken many different shapes and forms as I am still trying to formulate the script. I’ve tinkered with the mode of ‘totality theatre’. The most commonly known play I can think of right now which emulates that idea is ‘For Coloured Girls’. I’ve done it before in other plays like ‘JAHovah Witnesses’, ‘De Angry Black Boy Tantrums’ & ‘Demons in Me’. I’m incorporating poetry, as I’Akobi was interested in poetry, as well as the music of Bob Marley.

I chose this topic because it spoke to me. I’Akobi Maloney and I are both born the same year, 6 months apart. Two weeks after his crossing, I remembered being stopped and harassed by a policeman for no reason. At the time I had an afro which I wore wild and drove a car many wouldn’t be proud seeing. But like I’Akobi, I was an intelligent young man scrutinized not for what is in my head but what is on top of my head. I do believe in the work of ICAR, The Justice Committee and the Maloney Family to fight for justice. This could happen to anyone’s son and anyone’s daughter. Many Barbadians, I noticed, didn’t join in actively or speak out about it, because of the feeling that it was a Rastafarian affair with the police. Then so, what about Trayvon Martin and Emmitt Till? Was that only an African American thing? What about Brenda Belle? Is that only a female thing? Anne Frank? Only a Jewish thing? It is ALLAWE!!!!

“…until the philosophy which holds one race superior and another inferior is finally and permanently discredited and abandoned. That until there are no longer first-class and second class citizens of any nation; that until the color of a man’s skin is of no more significance than the color of his eyes; that until the basic human rights are equally guaranteed to all without regard to race; That until that day, the dream of lasting peace and world citizenship and the rule of international morality will remain but a fleeting illusion, to be pursued but never attained..”

Emperor Haile Selassie I

Marla Botterill & Conan Masterson’s Residency: Week 1 Report

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Fresh things are starting to happen already.  We arrived on May 1, a little groggy after travelling all night without sleep.  But the warm welcome we received from Blue Curry who met us at the airport and Fresh Milk’s dynamic duo of Annalee & Katherine certainly gave us energy.  The people are not the only warm thing about this place, the heat envelops you and we welcome that after the frigid winter and chilly spring we left behind in Canada.

The first few days were spent in a whirlwind of meeting some members of the art community here in Barbados, including past resident Mark King, Ewan Atkinson & Allison Thompson (who proved an excellent and knowledgeable tour-guide).  We enjoyed the generous hospitality and tours of impressive art collections of Leandro Soto, Mervyn Awon & the historical Colleton House as well as studio visits to Winston Kellman & Ras Ishi.  It’s been a bi-coastal extravaganza!  We find the lively scene here in Barbados invigorating and encouraging.  We are delighted to be included among the artists in ‘A Performative Moment’ happening next week with the Northern Kentucky University visitors to Fresh Milk and we enjoyed meeting the local artists who will be presenting their work at a group meeting.  We also got to attend BCC’s graduation exhibition of both the Fine Art and Foundation students.  On Monday, playwright Matthew Kupakwashe Murrell began his residency at Fresh Milk and we look forward to a continued and on-going dialogue with him.

Since our arrival we’ve been on sensory-overload.  The sound-scape here in Barbados is very unlike anything we have at home and it took some time to adjust to the singing frogs, alarm-sounding crickets, mahogany tree bombs and new bird calls as well as the farm sounds of the cows and roosters!  Even when inside, the surrounding landscape is ever-present, there is very little separation between outdoor and indoor space, the windows all open wide allowing nature to be seen, heard, smelled and sometimes even entering your space. The grounds surrounding Fresh Milk are a sensory feast.  We are drawn to the repetition of long narrow tendrils and laying in the landscape.  Our work began in earnest last week.  We are using Fresh Milk as a platform to experiment with new ways of working.  Though we have known each other for many years, this is our first journey into working collaboratively.  It is not without challenges.  As individual artists we are used to processing and working though our ideas independently and privately, we are still adjusting to this new way of working.  The first couple of days we set up at opposite ends of the studio, but have gradually begun shifting our things together and working jointly on some initial puppet pieces.  There are obvious references forming in the work to the vegetation, insect, bird and animal life that surrounds us.

Annalee’s dogs have appointed themselves our chaperones, though we think they are just using us for the chickens they hunt after assuring we are safely home.  We spend most evenings at Prendoma, reading through items borrowed from the Colleen Lewis Reading Room.  Our walks home are filled with the seductive smell of ylang-ylang blossoms.

Videobrasil Meeting | Caribbean: Archipelagos for Thought

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Caribbean: Archipelagos for Thought, May 14 2013, at 8:00 pm São Paulo time

To the Martiniquais writer Édouard Glissant, the geography of Antillean archipelagos represents a template for thinking a “creole world” whose dealings with the others are no longer outlined by instances of multiculturalism and compartmentalized identities, but rather by coexistence and dissolution processes. Glissant builds on the Antilles’ insular multitude to propose a model of “archipelago-thinking” as opposed to “continental thinking,” whose nature is hegemonic or homogeneity-inducing.

Annalee Davis, director of Barbados’ Fresh Milk independent center for art practices; Andrés Hernandez, a Cuban-born, Brazilian-based curator; and Mirtes Oliveira, a member of the G27 study group will convene at São Paulo’s Ateliê 397 to relate the notion of “archipelago thinking,” coined by Glissant, with their own contemporary art practices.

This initiative will usher in a new phase in Videobrasil’s audience interface, featuring horizontal, collaborative, investigative, and debate-oriented platforms.

Featuring: Andrés Hernandez, Mirtes Oliveira, Annalee Davis. Mediated by Sabrina Moura. English and Portuguese will be spoken. No simultaneous translation available. On the occasion, issues of ARC Magazine dedicated to Caribbean art, will be available to public consulting.

 About the guests

Andrés I. M. Hernández is a curator and independent producer who holds a master’s in Visual Arts. He was coordinator of the exhibition department at Wilfredo Lam Contemporary Art Center (which hosts the Havana Biennial); the executive coordinator of the curating department at the São Paulo Museum of Modern Art; and recently the production and institutional relations coordinator at Luciana Brito Galeria.

Annalee Davis is a Barbadian visual artist whose work addresses the Caribbean’s postcolonial heritage. She was the founder of Fresh Milk, an independent Barbados-based association that supports research exchange initiatives and fosters productions by contemporary creators. She is a part-time professor at the Barbados Community College’s baccalaureate program. As an artist, she has featured in the São Paulo and Havana biennials (both in 1994), among other shows.

Mirtes Marins de Oliveira was the coordinator of the Baccalaureate in Fine Arts (1997-2006) at Faculdade Santa Marcelina (Fasm), and the implementer and coordinator, from 2003 to 2013, of the master’s program in visual arts at the same institution. Presently, she is a professor at the masters and doctoral courses in Design at Universidade Anhembi-Morumbi. The G27 group, of which she is a member alongside Ana Maria Maia (Tomie Ohtake Institute), Regina Parra (FAAP) and Tainá Azeredo (Casa Tomada), studies the manifold aspects of curating processes and practices, by means of historical research on art and design shows held since the emergence of 20th century vanguards.

About Ateliê 397

Founded in 2003 by a group of visual artists (Bruna Costa, Rafael Campos Rocha and Sílvia Jábali), Ateliê 397 promotes the diffusion, production and exhibition of contemporary art. It holds art shows and interdisciplinary events involving video art sessions, performances, happenings, music concerts, publication of artist books, and other forms of contemporary art experimentation. Currently coordinated by Marcelo Amorim and Thais Rivitti, the facility plays the role of spreading debate, creating opportunities for artwork to be shown, and presenting productions by young artists from across Brazil.

About Associação Cultural Videobrasil

Associação Cultural Videobrasil is an international reference center on art from the Southern hemisphere. Created by curator Solange Oliveira Farkas, the former director of the Museum of Modern Art of Bahia, Associação maintains a partnership with SESC. The two institutions have jointly promoted a biennial International Contemporary Art Festival, focused on the geopolitical South circuit, and exhibitions such as Isaac Julien: Geopoetics (São Paulo, 2012), Joseph Beuys – We are the revolution (São Paulo and Salvador, 2010/2011), and Sophie Calle – Take care of yourself (São Paulo and Salvador, 2009). Other ongoing productions of the partnership include the Videobrasil Residency Program; Videobrasil Authors Collection, a series of documentaries; and Caderno SESC_Videobrasil, an annual contemporary art publication. Devised as a platform for production, dissemination and discussion of contemporary art from the Southern hemisphere, by means of partnerships and dialogue with curators, artists and other institutions, Associação also maintains a network of residency partners and educational actions aligned with the Festivals and exhibitions it conceives.

This meeting is an opening activity of a series from the Public Programming segment, a new Videobrasil’s front, dedicated to foster platforms for widening of access and research on contemporary arts and culture.

Fresh Performance Chapter 1: Defining Performance

FRESH MILK in collaboration with Damali Abrams presents Chapter 1 in the Fresh Performance Project: Defining Performance

Fresh Performance is an experimental documentary that I am working on through a seven-month off-site residency with Fresh Milk. Each month I will interview one artist in New York City and one in the Caribbean concerning different aspects of performance in their respective practices and post the videos online. I will then edit them all into a full-length documentary. My intention is that as artists we can connect with and learn from each other through our work. In my own practice, I use my art as my therapy, my school, my playground and also my surrogate when I need to communicate things that I do not know how to communicate otherwise. Through this project I am studying performance via conversations with a group of exceptional contemporary artists. I am extremely grateful for this opportunity to collaborate with Fresh Milk and all of these talented makers.

Art itself is a nebulous concept that eludes definition. Performance art is that much more precarious. I am drawn to performance because it can encapsulate just about anything else from any medium or discipline. It seems to be somewhat lawless and anarchic. But that is my own personal definition. In chapter one of Fresh Performance, artists Sandra Vivas, originally from Venezuela, currently living in Dominica, and Nyugen E. Smith from Jersey City, share their own definitions.

I met with Nyugen at 59th and Columbus in New York City on a very chilly early Spring day. It was far windier than expected and we scouted around for a location that would not provide too many audio challenges.  We tried inside of a mall, a hotel lobby and finally Nyugen suggested a tunnel at Central Park. It turned out to be perfect.

Sandra Vivas and I met on Google Hangout. Despite many technical difficulties, she and I had a very warm conversation. It was more like speaking with a friend I had known for years rather than someone I was meeting for the first time online. Sandra shared that while she enjoys living in Dominica, she feels very isolated creatively and has not done any performance art there.

This project is a work-in-progress and as stated above, Fresh Performance is intended to remain an open discussion so please feel free to share any questions, comments and critiques.

Damali Abrams

About Nyugen Smith:

With a fearless approach, multi-media artist Nyugen Smith embraces the role of cultural informer and champion of social justice. Drawing heavily on his West Indian heritage, Smith is interested in raising consciousness of past and present political struggles through his work which consists of sculpture, installation, video and performance. Growing up in Trinidad, Smith was profoundly influenced by the conflation of African cultural practices and the residue of British colonial rule encountered in his daily life on the island. Responding to this unique cultural environment, Smith’s art is a reaction to imperialist practices of oppression, violence and ideological misnomers.

About Sandra Vivas:

Sandra Vivas was born in Caracas, Venezuela in 1969 and is currently living in Dominica West. Sandra has developed a body of work that has performance as a permanent thread through her paintings and videos. Irony and humour play a fundamental role in her work and she is considered a feminist performance pioneer in Venezuela. From 1997-2008, Sandra taught at the Universidad Central de Venezuela, in the Undergrad and Graduate Programs of the Escuela de Artes, teaching Contemporary Art History. Sandra studied painting and ballet and has a Bachelors Degree in Art History from the Universidad Central de Venezuela and a Masters Degree in New Genres from the San Francisco Art Institute, California, USA.